Sean Anthony Chia examines the impact of a powerful story—one without spectacle—through the lens of Isaac Gomez’s the way she spoke.

James Montaño discusses The Donkey Show, cross-gendered performances vs. drag, camp as an aesthetic concept, and more.

Shari Caplan discusses Opera del West’s recent production of Cendrillon at the Boston Center for the Arts.

Ezra Brain discusses the experience of creating a piece of theatre in the dark, the theory of “rasa,” the act of performance, and more.

verity healey does a deep-dive into the Our Stage – 4th European Bürgerbühne Festival, which took place in Dresden, Germany, in May 2019.

Shari Caplan discusses the Huntington Theatre’s production of Yerma.

Rebecca Benzie Fraser uses Her Naked Skin as an example in the exploration of the different decisions made when it comes to staging violence by women and staging violence against women.

Amanda L. Andrei reflects on Warsaw’s Generation After 3 festival, which had the theme of “risky projects,” and discusses four pieces she saw on risk as it relates to the body and the world.

Emily Garside discusses Y Brain/Kargalar, in which the playwright, Turkish refugee Meltem Arikan, who settled in Wales, explores her conflicting identities. 

Erin B. Mee examines how using the Sanskrit aesthetic theory of rasa—rather than the aesthetic theory of catharsis—is a necessary step when it comes to creating sustainable theatre.

Edward Einhorn looks at the innovation inherent to neuro-theatre and how various artists have creatively presented the neurological conditions their plays explore.

Rob Onorato talks about boredom as an audience member, the uninspired play, what film has going for it that theatre does not, and more.